Akın Kilis (b. June 13, 1998, Adana/Türkiye) is a Turkish composer. He studied piano with G. Can Çoker at Çukurova University, Adana, and with Birce Arslan at Mimar Sinan Fine Arts University, Istanbul. His artistic path began in 2016 with composition studies at Mimar Sinan Fine Arts University, where he studied under Ali Özkan Manav, Ali Ahmet Altınel, Mehmet Saim Nemutlu, Hasan Uçarsu, and Erdem Çöloğlu, and completed both his bachelor’s and master’s degrees. During his education, he gained international experience as an Erasmus student at Hochschule für Musik und Theater Hamburg with Gordon Kampe and at the University of Music and Performing Arts Graz (KUG) with Klaus Lang. A second master’s degree led him to Clemens Gadenstätter's class at the University of Music and Performing Arts Graz.
His compositions have been performed by numerous renowned ensembles and orchestras, including Ensemble Multilaterale (France), Quatuor Diotima (France), Ensemble Oerknal (Netherlands), Appasionato Ensemble (Italy), Bilkent Symphony Orchestra (Türkiye), Gilgamesh Ensemble (USA), Klaipėda Chamber Orchestra (Lithuania), Klasik Keyifler Ensemble (Türkiye), Diskant Ensemble (Türkiye), Anadolu Wind Quintet (Türkiye), Kalamos Quintet (Croatia); and
his compositions have been conducted by Gürer Aykal, Gregory Charette, Robertas Šervenikas, and Erberk Eryılmaz.
His works has received awards, including 2nd Prize at the 9th Mersin International Music Festival Composition Competition (2017), 3rd Prize at the 11th Mersin International Music Festival Composition Competition (2019), Audience Prize and Honorable Mention at the Süleymanpaşa Municipality Bisanthe Gülsin Onay Piano Composition Competition (2019), Honorable Mention at the IV International Composition Competition 2020 “Appasionato Ensemble” (2022), 3rd Prize at the 2nd International Balsys Composition Competition 2021, 3rd Prize at the Gilgamesh Composition Competition (2022), 6th Prize at the 2nd International Contest of Choral Composition UAH 2022, 1st Prize at the 4th International Composition Competition New Music Generation, Jury Special Prize at the Aima 25th Anniversary Composition Award (2023), 3rd Prize at the International İhsan Doğramacı Orchestral Composition Competition (2024), Honorable Mention at the Calefax Reed Quintet Composition Competition (2024), Audience Prize at Tage der Neuen Klaviermusik Graz (2025), and 1st Prize at the Scorefollower Competition 2025.
His music has been presented at important festivals, including the 10th, 11th, and 13th Journey of Sound: Young Composers Festival (2017, 2018, 2021), The Second Everlasting Hope: Gustav Mahler & Terezin Composers Festival (2018), Bilkent Composition Academy (2017–2019), Istanbul Bilgi University Bilgi New Music Festival (2021), Barcelona Modern Academy, Impuls Composition Academy (2023), IYCA Ticino Academy (2024), and the 4th Annual Symposium on Enharmonic Interfaces and Controllers for Keyboard Instruments: Expanding the Potential of the Organ (2025).
Lectures & Seminars: Mimar Sinan Fine Arts University, Istanbul State Conservatory, Composition Department, Composers' Forum Seminars (10.03.2026): "Akın Kilis - My Compositional Methods and Personas: Tools Derived from Musical Genres Within and Beyond the Context of New Music. "Barcelona Modern Academy Composition Festival 2023: Akın Kilis as a Composer"
Kilis’s compositional approach combines two distinct personalities: a serious, structurally oriented side based on algorithmic patterns and large-scale formal processes, and a humorous, theatrical, and improvisatory side with a strong gestural character. He maintains multiple compositional personalities. In some of his works, the music itself shows an impatient desire to fulfill expectations through algorithms. In others, these expectations are deconstructed in unexpected and humorous ways through improvisatory elements. At times, he combines both approaches simultaneously, allowing them to merge into a hybrid musical language. His inspiration comes from a wide range of sources: alongside classical and contemporary music, elements of metal, rock, jazz, hip-hop, R&B, soul, lo-fi, and Turkish makams enter his work. His particular interest in hip-hop appears in his use of collage techniques, glitches, and loops, while influences from metal can be heard in the form of djent phrases, breakdowns, and complex rhythmic algorithms.
He extends his gratitude to his friends Emircan Pehlivan and Mithatcan Öcal, as well as the Istanbul Composers Collective.